A STUDY in MODERN ODIA DRAMA- By
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Commentary-2 Global Media Journal-Indian Edition/ISSN 2249-5835 Sponsored by the University of Calcutta/www.caluniv.ac.in Winter Issue/December 2013/Vol. 4/No. 2 COMMUNICATION THROUGH FOLK ELEMENTS: A STUDY IN MODERN ODIA DRAMA Dr.Alok Baral Assistant Professor Centre for Odia Language & Literature Central University of Orissa Koraput, Odisha-764020 Email: [email protected] Website: www.cuo.ac.in Abstract The comprehensive aspects related to human life bears resemblance to folk elements, viz. folk religion, folk belief, folk literature, folk medicine, folk art etc. Even acclaimed mainstream literature cannot claim that it is free from influence of folk elements. The stalwart creators of literature consciously or unconsciously have used elements of folk in their creations. The cultural heritage is thus reflected in the academic works of an author through the use of folk elements. This particular ‘reflection’ forms the basis of significance of the created literature. Despite of several disparities, the relationship between folk elements & modern Odia drama, specially in recent times have gained a strong bondage starting from folk ballad , folk tale and folk songs, proverbs & folk-sayings, folk language, folk customs & beliefs have been assimilated in theatre. Introduction In post independence period, if we study the drama scenario, following remarks may be observed regarding the use of folk elements: 1) Forming plots from folk ballads 2) Use of plots from folk tales 1 3) Direct use of folk songs in drama 4) Use of rhythm & style of folk songs in drama 5) Use of folk sayings like proverb, idioms, riddles etc. 6) The experiment of style of folk theatre 7) Assimilation of characters from folk drama 8) Use of stage craft of folk drama 9) Use of folk language & dialect 10)Drama based on tribal groups & tribal life So many modern drams are based on the folk tales, folk legends and folk ballads. The use of folk element in modern drama can be categorized into following four types: a) Complete symbolic representation of drama b) General conventional story telling c) Partial symbolic representation d) Free & open visualization In this context ,the following texts may be discussed-playwright Aswinikumar Ghosh’s Kalapahada(1920), Konark(1927), Adwaita Chandra Mohanty’s Sadhaba Jhia(1947) & Chakhi Khuntia , Purna Chandra Kanungo’s Kala Pahada(1974), Rajat kumar Kar’s Chakhi Khuntia (1952), Purna Chandra Mohanty’s Byaghra Ebam Kankana lobhi Pathika Manankara Kahani (1982), Jadunath Das Mohapatro’s Surjya Mandir(1962), Ratiranjan Mishra’s Chanchalyakar ( 1984),Monaranjan Das’s Kathaghoda (1973) & Nandika Kesari(1985), Bijay Mishra’s Jane Raja Thile (1982) , Niladri Bhusan Harichandan’s Kaluribenta (1998),Bijaya Satapathy’s Sonita Swakshra(2000) etc. Mohanty’s Sadhaba Jhia is a melancholy tragic adaptation of a folk tale focusing an Tapoi. In Sonita Swakshra the legendry mythical character ‘Khulanasundari’ reflect in new prospect. We see plots revolving around revolutionaries in Chakhi Khutia and Chandan Hazoori. There are also socially established mainstream folk characters in modern Odia drama like Toapoi , Chandan Hazoori , Kala Pahada and Gobinda Chandra. In Purnachandra’s Kala Pahad & Rati Mishra’s Chanchalyakar ,we can see the transformation of the historical character ’Kala Pahada’ . The play Kala Pahada raises voice against castism albeit in a symbolic manner. Although Manoranjan Das’ Nandika Kesari was written 58 years after Aswini Kumar Ghosh’s Kesari Gang(1927), the latter has consciously infused 2 folk elements in the character of Nandika to present it in a new form. The new applications of folk are found in plays like Konark and Surjya Mandir. In plays like ‘Kalluri Benta’,’Jane Raja Thile’ , ‘ Byaghra Ebam Kankana lobhi Pathika Mananka Kahani’(1982)& Rati Ranjan Mishra’s ‘Sita’(1983) we can see use of excerpts from folk tales. In some of their plays the playwright intends to spell out new concepts & ideas through superficial use of folk idioms. Excepting Rati Mishra’s ‘Sita’ this trend prevails in all the other plays. A complete segment of ‘Sita’ is actually made based on the idiom of Fairy Tales or ‘Pari Kahini’. In many cases the playwrights improvise the titles of the plays in a symbolic manner reminiscent of folk element. Aswinikumar Ghosh’s ‘ Maluni’, Manoranjan Das ‘Kathoghoda’ , Prafulla Rath’s ‘Saata Tala Pani’ (1978); Pranbandhu Kar’s ‘Dur Pahada’ ; Byomkesh Tripathi’s ‘Suna Pharua’ ; Narsingha Mohapatra’s ‘ Baunsha Rani’ (1969); Ananda Shankar Das’s ‘Chaka Bhunri’; Ramesh Prasad Panigrahi’s ‘ Paka Kambala Pota Chhata’; and ‘Hati ku Homeopathy’, Niladri Bhusan Harichandan’s ‘Manhisira Pasa Na Jaa Danai’(1985),‘Maharaja Bije Hebe’(1984), Ratiranjan Mishra’s ‘Kuachori’(1977); Shankar Tripathy’’Rabanachhya’(2002), ‘Bagha Bakri Khela’(2003),Ranajit Pattanaik’s ‘Gunia Jhadelo Dahani’(1992);Hrusikesh Panda’s ‘Bramha Rakshya ’ ( 1997 ), Dilliswara Moharana’s ‘Chake Gale Bara Hata’(2001);Panchanana Patra’s ‘Ghodamunha’etc. are prime instances.In this phase ,the folk elements have been aptly assimilated in plays ‘Sadhaba Jhia’ and ‘Chakhi Khuntia’.In context to Kalapahada the theme is woven in a symbolic manner in ‘Jane Raja Thile’, ‘Kalluri Benta’. The folk persists partially. The playwrights have given a unique fiction touch to the existing folk psychology. Exploring the Geetinatya Style In modern plays the application of folk music , folk rhythm and style have given birth to original plays specially in Odia drama . However Kalicharan Pattanaik , Baishnab Pani and Balakrushna Das had pioneered in recognizing the lyrical elements of drama by creating ‘Gitinatya’or musical plays and these plays were resplendent with folk theatrical style. The phenomenon may be illustrated as follows: 1) Direct infusion of unaltered original folk song 2) The application of traditional style of folk song. 3 Ramesh Chandra Panigrahi ‘s ‘ Mahanataka’ (1972) Subodh Patnaik’s ‘Ethu Ante’(1979), Kartik Rath’s ‘Chaiti Ghoda’(1980) and ‘Banhiman ‘(1977), Vijay Mishra’s ‘Jane Raja Thile’ (1982), Manoranjan Das’s ‘ Nandika Keshari’(1985), Bijay Satpathi’s, ‘ Ei Je Surjya Uen’ (1987),Niladri Bhusan Harichandan’s ‘ Kaluri Benta’ (1988), Dilliswara Maharana’s ‘Rajaghara Khela’(1996) etc. are plays where the above stated two ways of drama application may be found. In ‘Nandika Keshari’ , the ‘Desia’song and dance of Koraput,’ in Chaiti Ghoda’ , Ghoda Naach Geet, in ‘Ethu Ante’& ‘ Mahanatak’ , Daskathia Geet ,in ‘Ei Je Surjya uen’ Pala Geet,in ‘Rajaghara Khela’ Suanga geeta;in Shankara Tripathy’s ‘Rabanachaya’ puppet play Rabanachaya style has been applied . These plays have been enriched with culmination of folk styles. Plays like ‘Jane Raja Thile’ , ‘Nandika Kesari’ , ‘Mahanatak’, ‘Banhiman’,‘Ei Je Surjya Uen’ etc. reflect a clear influence of ‘Geetinatya’ or the traditional mythological Odia musical play type. The first chapter of ‘Bohnimaan’ the song of Sutradhar goes like – “Abata Kataka Hatalo Amunha Naira Ghata Mu Rajara Dagara Dhain Tara Tara Chhadide Chadide Batalo Chhadide Baghuni Bata” ( m.It is difficult to get way to the river bank as if it is going through the markets of Cuttak ,But I am a tigress , a king’s messenger, therefore ,make way for me.) Another example from Dramatist Bijay Mishra’s ‘Jane Raja Thile’: “Lagila Hata Chamata ho… Lagila Hata Chamata ho… Debi Asilaru Raja Uasare Kholila Kansa Kabata ho… Lagila Hata Chamata…” (pp-74) ( m.As the Goddess arrives , a loud pandemonium breaks out every where and the main door of the Royal Palace Opens up). 4 The Ghodanacha- geeta Style: In the play of Dramatist Manoranja Das’s ‘Nandika Keshari’ the traditional style of Ghodanacha-geeta goes like – “Hentala Banare Bagha Hentale Lo Naire Bhasila Naa Gara Panire Elishi Chhakelo Kalia Pat mo Gaon” ( pp 13) ( m.The sutradhara introduces himself as a native of kaliapat village where the Tiger rows around amidst the Mangrove and the people catch the Ilish fish in the river). The Sabari Geeta Style: In the play of Manaranjan Das’s ‘Nandika Keshari’, the traditional song of ‘Sabari’ or palanquin bearers Songs goes like: “Hakum Dhore Dhakum Dho… Dhakum Dhore Hakum Dho… Nai Ara pate Uaasa Diselo… Hakum Dhore Dhakum Dho… (pp 84) The Pala Geeta Style : In the play ‘ Ae Je Surjaya Uen’ The very much popular folk drama of Odisha ‘Pala’ form was used successfully; in this play dramatist Bijaya Satapathy including the other traditional form of folk drama the ‘Pala’ type is really unique: “Karnapura Rajya Raja Beeraditya Karuthile Rajapana 5 Mantri Thile Tanka Chandaditya Beera Asambhaba Shaktiman…” ( pp 9 ) (Karnapur was ruled by King Veeraditya and his Chief Minister was Chandaditya who was extremely powerful) In Nandika Keshari playwright Manaranjan Das has infused various element of folk as is evident from the above examples of Ghoda Nach -Geet, Sabari Geet, Pala geet and Desia Natak Geet. In the total play of ‘Nandika Keshari’, the playwright experimented the pure form of Desia Natak of Koraput. He also infused the traditional Ganesha Vandana/mantras in this play through Sutradhar: “Gananatha Ganadhisha Gouri Nandana He EkA Danta Lambodara Bighna Nashana He” (pp2) The direct use of traditional ‘Pala’ is also found in ‘Ae Je Surjaya Uen’ like: “Jaya Jaya Narayana Nabojaladhara Bipada Bhanjana Probhu Karunasagara Krupa Karibaru Nama Hela Krupasindhu Daya Karibarua Nama Hela Dinabandhu” ( pp9) With this in Nandika Kesari, Geeti Natya ,Sabari Geet ,Ghoda Naach & Paheli (Riddle)etc. have been used which clarifies the conceptions of folk theatre. Similarly, the idiom of various types of music has been used by Bijaya Mishra, like : “Ota Pari Jiba Nanhire Bhai Shanti Tu Paibu Ja Ota Hoi 6 Pithire Kujata Ki Manohara To Niriha Akhi Bhari Sundara” (Jane Raja Thile,pp65) (m.If you become a Camel , you will get peace. The hunch back and eyes of a camel are beautiful). Niladri Bhusan Harichandan’s ‘Kaluri Benta’ has some songs which reflect traditional meter & rhythm and are delivered with the help of chorus: “Ka.. Ka.. Ka.. Akashi Phula Kaluri Benta Kha.